***Baris Manco - More of his earliest & best albums***

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NOTE: as i have stated before, the available files were not the best quality but his albums are not all that easy to get. certainly worth a listen though! I love him!!


1972 -Dunden Bugune (Daglar Daglar)


1975 -2023


1976 Baris Mancho/Nick the Chopper


1979 Yeni Bir Gun

***Various Artists - Surf Rock Alla Turca -The Turkish Way to Surf***

Great Compilation By Cappucino, 20 Rare Turkish Surf Tracks

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***Orhan Gencebay - Leyla ile Mecnun (1983) -outrageously fantastic Turkish film OST!***

From Wikipedia:

Orhan Gencebay (born August 4, 1944 in Samsun, Turkey as Orhan Kencebay) is a Turkish musician, bağlama virtuoso, composer, singer, arranger, music producer, music director, and actor.

Gencebay was born in the coastal town of Samsun on August 4, 1944, to Crimean Tatar and Balkan Turkish parents.[citation needed] He started learning music at the age of six, taking violin and mandolin lessons from Emin Tarakçı who was an old Classical Musician from the Ukraine Conservatoire. At the age of seven, he started playing the bağlama (a traditional Turkish instrument), and continued taking traditional Turkish folk music lessons. At ten, he created his first composition. At thirteen, he started playing the tambur, an instrument often used in Turkish classical music to improve himself in the theoretical and practical details of Turkish classical music.

During his high school years, he performed in Classical and Traditional Turkish Folk Music groups playing the tambur and baglama, taught music lessons in his own music courses, and took part in organizing community music centers in Istanbul and Samsun.

When he was sixteen, he became interested in jazz and rock music, and started playing tenor saxophone in wind orchestras. He enrolled in the Turkish conservatory in Istanbul, and studied there for four years. During his military service, he played saxophone in the military brass band.

In 1968, he released his first "free-style" single "Sensiz Bahar Gecmiyor/Basa Gelen Cekilirmis", and was rewarded. During the 1970s he released many singles in a new genre that is a fusion of traditional Turkish Folk music, Turkish classical music, Western classical music, jazz, rock, country, progressive, psychedelic, Indian, Arabic, Spanish, and Greek music styles. Even though some musical societies such as TRT named that kind of World fusion music recordings Arabesque music, Orhan Gencebay refused the term arabesque, saying it was inadequate to define his style.[3][4][5] In 1972, he founded the Kervan Record Company, which became very successful, attracting many other talented musicians such as Erkin Koray, Ajda Pekkan, Muazzez Abaci, Mustafa Sagyasar, Ahmet Ozhan, Kamuran Akkor, Semiha Yanki, Samime Sanay, Nese Karabocek, Bedia Akarturk, Nil Burak, Ziya Taskent, Semiramis Pekkan and Ferdi Ozbegen.

Throughout his career Orhan has performed leading roles in 36 movies, has been a composer almost in 90 movies, composed of about a thousand[6] works, released almost 35 singles, 15 albums, and dozens of MC's. His albums sold out over 65 million legal copies.

As a composer, film musician, and as a person interested in other musical cultures, Orhan Gencebay is one of the major exponents of Turkish music in the 20th century.

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***Baris Manco -Sozum Meclisten Disari (1981)***

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***Baris Manco 1977 - Sari Cizmeli Mehmet Aga- Turkish anatolian folk-psych***

another of the very best albums of Mr.Manco!

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***Baris Manco -Sakla Samani Gelir Zamani (1976) -great RARE Anatolian album from this Turkish legend!***

NOTE** Most of Baris Manco's albums are very scarce and go for large sums even on cd, and the downloads available are unfortunately not top quality, but they are far better than nothing!

Istanbul born Barış Manço was one of the most influential Turkish musicians of all times. His musical style combined traditional Turkish folk music, türkü, with western rock and even funk. In 1962 Manço formed his first band after seeing a live performance of another legendary Turkish rock star Erkin Koray. After few own bands in 1960s and brief recordings backed by well known Turkish band Mogollar and reformed Kaygısızlar (his own band from late 60s) he went to form Kurtalan Ekspres in 1972. That band accompanied him until his death in 1999. After a serious car accident in 1967 Manço grew his signature moustache to cover the scars he got.

Sakla samanı gelir zamanı (a Turkish proverb meaning “save hay for a rainy day”) was the third album of Barış Manço after succesful Dünden Bugüne (1972) and 2023 (1975). All these were backed by the legendary Kurtalan Ekspres orchestra. Sakla samanı gelir zamanı wasn’t actually a studio album, but a compilation of singles released by Yavuz between 1972 and 1976. There’s plenty of different types of good tracks in this album. The hypnotic downtempo rare groove number “Gönül dagi” (1973), midtempo funky Anatolian rock number “Kalk gidelim küheylan” (1973) with nice percussion work and very oriental feeling. There’s also midtempo funky “Nazar eyle nazar eyle” (1974) and “Ölum allahin emri” (1972) which after a minute or so intro turns into a nice midtempo oriental funkrock song. “Lambaya püf de!” (1973) is a downtempo mellow song that turns into a nice oriental funk song in the end. The best track no doubt is the uptempo oriental funk song “Ben bilirim ben bilirim” (1975) with nice catchy melody and abreak in the end. There’s also quite hilarious music video of that song where the tempo slightly pitched up. “Ben bilirim” was later released on 20 Sanat yılı disco Manço cassette as a percussion driven disco version. Despite the variety of recording years and musical styles this album is a very strong Anatolian rock album. There is a German reissue of Sakla samanı gelir zamanı from 2008 with different cover and slightly different expanded tracklist.

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***Baris Manco & Erkin Koray -Iste Baris, Iste Erkin- (Turkish Anatolian psych comp 1994)***

Fantastic compilation album of two great Turkish legends with plenty of fuzz guitar and catchy, catchy tunes!!
(Baris Manco is like a sort of Turkish George Harrison to me!)

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Mustafa Özkent "Gençlik İle Elele" Psychedelic groovy jazzy breakbeat fusion 1973

Mustafa Özkent "Gençlik İle Elele" 1973

Turkish composer, arranger, and musician Mustafa Ozkent was a lesser-known but significant figure on the Ankara music scene until his music belatedly found a receptive audience in the West more than four decades into his career. Ozkent launched his career as a professional musician in 1960 as the leader of a Turkish pop group called the Teenagers (owing to the fact no one in the group was over the age of 19). A talented guitarist who was known to modify the design of his instruments to create unusual tonal qualities, Ozkent earned a reputation as a gifted maverick and by the dawn of the 1970s was in demand as a session player, arranger, and producer, creating music that fused psychedelic and pop/rock influences with R&B grooves and jazz-influenced improvisations. In 1972, Ozkent partnered with Evren Records, a Turkish label known for its high production standards and audiophile recording techniques; Ozkent booked time at one of Istanbul's finest recording facilities, and with a hand-picked team of musicians he began recording new material dominated by funky vamps, extended percussion jams, hard-grooving organ lines, and wah-wah guitars. The resultant LP, Genclikle Elele (Hand in Hand with Youth), sounded as if it were designed for hip-hop DJs in search of funky breaks, even though it was cut years before the nascent South Bronx scene began to flower (not to mention half a world away). In 2006, the musically omnivorous record collectors at the British Finders Keepers label reissued Ozkent's masterpiece, and it earned rave reviews in the U.K. as well as the United States. Meanwhile, Ozkent (who helped Finders Keepers with the reissue of Genclikle Elele) remains active in Turkey, releasing the album Dijital Guitar in 2005. (Mark Deming)

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***Mogollar-S/T 1971 rare 2nd album, fab Turkish Psych with fuzz guitar & Eastern instruments -MUST LISTEN!!!***

*note: i reposted this with more
pictures to illustrate how
colourful and wonderful this
band is!! DON'T MISS, i
wanna see more listeners!
-The band was founded in 1967 by Neco, Aziz Azmet, Aydın Daruga and Murat Ses who were previously members of Silüetler (silhouettes).

However, Neco left the band at the end of 1967. Also, Cahit Berkay, who was a member of Selçuk Alagöz Band, and Haluk Kunt, who was a member of Vahşi Kediler (Wild Cats), both joined the band.

Later, Haluk Kunt was replaced by Hasan Sel, who was a member of Apaşlar (Apachies) in 1968, and Aydın Daruga was replaced by Engin Yörükoğlu in 1969.

In 1970, Hasan Sel was replaced by Taner Öngür, previously a member of Meteorlar (Meteors) and the Erkin Koray Quartet.

The band tried to fuse the technical aspects of pop music with the melodies of Anatolian folk music in late 1960s and early 1970s

In July 1970, Aziz Azmet, the band's vocalist left the band and Ersen Dinleten replaced him for a short time.

Moğollar recorded Ternek/Haliç'te Gün Batışı (Ternek/Sunset on the Golden Horn) 45 rpm, and left for Paris in August 1970.

The group won the Grand Prix du Disque of the Charles Cros Academy (previously won by such groups as Pink Floyd and Jimi Hendrix) in 1971.

Nearly all of the tracks on this album are compositions or traditional arrangements of Murat Ses, the group's keyboardist, arranger and composer. This ambum is compelling work from the Turkish scene of the early 70s -- music that fuses rock and folk roots, and which makes heavy use of the Turkish baglama -- an instrument with strong sitar-like qualities.

Most of the tunes here are instrumentals that lay the baglama solos out over heavier rhythms -- in a driving sound that's certainly got roots in folk, but which comes off with more of a rock-like intensity.

There's a bit of fuzz on some of the instrumentation, but we can't tell for sure how much electricity was used by the band -- and although the English language notes on the CD do a great job of laying out the group's history and recordings, we wish they'd give a bit more specifics on that front!

CD features a fair number of bonus tracks, including key recordings done by Mogollar in Paris -- and titles include "Ozum Kaldi", "Misket", "Behind The Dark", "Hicaz Mandira", "Yine Bir Gulnihal", "Senhaz Longa", "Hitchin", "Dag Ve Cocuk", and "Garip".

Tracklisting:
01.Katip Arzuhalim Yaz Yare Boyle
02.Bachelere Geldi Bahar
03.Hicaz Mandira
04.Uskudara Giderken
05.Karsiki Yayla
06.Yine Bir Gulnihal
07.Sehnaz Longa
08.Drama Koprusu Bolu Beyi
09.Canakkale Icinde Ayanli Carsi
10.Misket
11.Ozum Kaldi
12.Behind the Dark
13.Halicte Gunesin Batsi
14.Hitchin
15.Berkay Oyun Havasi
16.Ternek
17.Yalnizlgin Ackli Guldurusu
18.Dag Ve Cocuk
19.Garip Coban

Mogollar:
*Cahit Berkay – bağlama,guitar,kemenche,mandolin,yaylı tanbur,vocals
*Taner Öngür – bass,vocals
*Engin Yörükoğlu – drums
*Murat Ses – synthesizer, hammond organ

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***Bosphorus & Mode Plagal - Beyond The Bosphorus- (Greece, Turkey, -bewitching fusion of folky traditional music & modern Jazz with female vocals)***

“Greek jazz ensemble Mode Plagal collaborate with Bosphorus, a group with Turkish musicians and traditional instruments who bring forth the sound and experience of the Eastern and Anatolian musical tradition. The symbolism of the Bosphorus straits as a passage from one world to the another, from one sea to the other and from one continent to a new world.”

"'It was bound to happen, someday.'
That was the first thing that crossed my mind when I came across the news that Bosphorus and Mode Plagal were to collaborate on a record.

Bosphorus, a group of Turkish musicians from Istanbul who for almost twenty years now have been studying the musical tradition of that city through its many periods have been churning out amazing records off the mainstream. They have been exploring, among other things, the musical tradition of Greek composers of the city, as well as the interplay between what existed in the city (the Byzantine tradition of the time when the city used to be called Contantinople) and what came after (the Ottoman musical tradition both on the level of court music and popular one.)

Mode Plagal have already been covered extensively in Rootsworld, as they have been following a similar path regarding Greek music, but with an added focus on jazz experimentation.

Listen!
So, in many ways, both groups have been dealing with the same questions: What does it mean to be at the crossroads between East and West, Now and Then? What have been the results of the influences of other people on the musical tradition of the region? Are there traces of the past to be found and are there any of those worthy of retention for the future? All that and beautiful sounds!

The latter is where Beyond the Bosphorus succeeds effortlessly: this is a compelling, seductive record that doesn't sound academic at all, while it combines music from three different musical traditions; the learned Eastern musical system (the ancient one), the folk tradition of the Alevi communities, and the western-influenced one, as is noted in the beautiful and very informative trilingual liner notes (Greek, English and French.) There were times that this record sounded pop. At others, it reminded me strongly of Morphine (the band from Boston) or an ethnomusicologist's pet research project. On "Oceania," the last song, the U2 of the late 1980s comes to mind. All that and it never sounds forced, grotesque or garish.

As in the previous collaborative work of Mode Plagal (the Yorgos Margaritis CD recently reviewed), this record sounds like Bosphorus, possessed by Mode Plagal. The way in which they go in and out of the picture, blending in or coming to the forefront, depending on the musical needs or whim of the moment, is fascinating.

Apart from the usual high musicianship of Mode Plagal (who use saxophones, electric and acoustic guitars, drums and bass) and the exquisite learned virtuosity of Bosphorus (who play kemenche, rebab, violin, ney, cello, kudum, bendir, kaval, saz, kanun and tanbur), Vassiliki Papageorgiou, who sings on almost all the tracks, should be singled out for particular praise, as her laid back, spacey yet curiously earthy voice is often the highlight of a song. Providing a stylistic unity to the record which otherwise would have been torn apart by its various musical influences, Papageorgiou inhabits the role of the narrator of this fascinating musical journey, as she sings about love in the city, important Islamic religious feasts, Sappho and most of all about the city: Konstantiniye/Istanbul. - Nondas Kitsos

The press info:
The symbolism of Bosphorus straights as a passage from one world to another, from one sea to the other and from one continent to a new world, has marked through myths the spiritual memory and heritage of migrating tribes as well as that of sea-faring people in the greater basin of the Easter Mediterranean.

Those tribes coming from the South, following the south to north migration of the cranes, believed in the a hyperborean haven and heaven whirling beyond the North Star (Polaris), whereas those arriving from the Ease longed for a Western Paradise somewhere along the shores of the Atlantic. On the crossroads, at the exact point of intersection of the axis, there at the divide between Europe and Asia, a City was founded which it was hoped would reflect the heavenly peace (Irini) and Wisdom (Sophia)- the Byzantine Constantinople, Konstantiniye of the Ottomans- the present dat Istanbul.

The space of all around seems to resound - Aghia Sophia, the Bosphorus, the mosques, the domes, the golden horn, everything seems to whirl around a mysterious and inaudible sound which is perceptible only to those who have managed to emerge free from the murky and channeled waters of urban material existence. Beyond, rises yet another deafening but silent sound, the dirge of a Metropolis which has lost the dream to embrace within her womb all the religions and people suffering tribulations and by this way, becoming admired by all the nations as an example of ecumenicity.

We have tried to capture with our music the echo of this indescribable sound. To achieve this -which is also a game with different musical systems and tunings- two different groups collaborated: Bosphorus with turkish musicians and ancient traditional instruments which bring forth the sound and experience of the Eastern and Anatolian musical tradition and Mode Plagal, a greek avant-garde group which is experimenting a contemporary approach to greek traditional Folk music. The compositions, besides the traditional songs and tunes, are by the musicians of both groups and are put to the lyrics and poetry of G. Seferis, T. Syrelis and V. Papageorgiou around the theme of "Beyond Bosphorus".

They are interpreted by Vasiliki Papageorgiou, with a traditional Alevi prayer to the 12 Imams by Engin Arslan. The musical direction is by Nikiforos Metaxas. Bosphorus and Mode Plagal have been collaborating for some time now, Mode Plagla have been visiting Turkey quite often and both groups have given joint concerts the last couple of years in Greece, Turkey -in Istanbul and Smyrni for the 100 years of G. Seferis- in Belgium, Holland etc.

Apart from the usual high musicianship of Mode Plagal (who use saxophones, electric and acoustic guitars, drums and bass) and the exquisite learned virtuosity of Bosphorus (who play kemenche, rebab, violin, ney, cello, kudum, bendir, kaval, saz, kanun and tanbur), Vassiliki Papageorgiou, who sings on almost all the tracks, should be singled out for particular praise, as her laid back, spacey yet curiously earthy voice is often the highlight of a song. Providing a stylistic unity to the record which otherwise would have been torn apart by its various musical influences, Papageorgiou inhabits the role of the narrator of this fascinating musical journey, as she sings about love in the city, important Islamic religious feasts, Sappho and most of all about the city: Konstantiniye/Istanbul." - Nondas Kitsos, RootsWorld

“Beyond The Bosphorus is a collaboration between Greek band Mode Plagal and the most recent incarnation of the Turkish group Bosphorus, which now includes such leading performers of Turkish art music as Hasan Esen (kemençe) and Murat Aydemir (tanbur). On vocals is Vasiliki Papayeoryiou, who has worked with Bosphorus in the past. In short, this is an impressive line-up. - Chris Williams”
Track Listing
-------------
01. Improvisation: Rebab-Cello
02. Konstantiniye
03. The Tumult Of Torrents
04. Ey Zahit
05. Shuttle Boats
06. Beyond The Bosphorus
07. Until Such Time
08. Itinerary
09. Twelve Imams
10. Tatavla
11. For Sappho
12. Erotikos Logos
13. Lullaby
14. Faraway Lady
15. This Night
16. Oceania


here

***Various Artists (2009/2010) -Anatolia Rocks: A Musical Trip Through Turkey Vol. 1 & 2***

Anatolian rock (Turkish: Anadolu Rock) is a fusion of Turkish folk and rock music. It emerged during the mid-1960s, soon after rock groups such as The Beatles, The Rolling Stones, Led Zeppelin, Yes, Status Quo, and Omega became popular in Turkey. Examples of this style include Turkish musicians such as Cem Karaca, Barış Manço, Erkin Koray, Fikret Kızılok, Murat Ses alongside bands such as Moğollar, Kurtalan Ekspres, Mavi Işıklar, Apaşlar and Kardaşlar. Today, Anatolian Rock is a general term used to describe music derived from both traditional Turkish folk music and Rock.

Tracklist:
Volume 1
01 Ümit Tokcan - Uryan Geldim
02 Erkin Koray - Estarabim
03 Esin Afşar - Zühtü
04 Edip Akbayram & Dostlar - Zalım Zalım
05 3 Hürel - Döner Dünya
o6 KIm Bunlar - Oyuna Çağrı
o7 Selda Bağcan - Ince Ince Bir Kar Yağar
o8 Erkin Koray - Şaşkın
o9 Barış Manço* - Estergon Kalesi
10 Fikret Kızılok - Sevda Çiçeği
11 Nurcan Opel - Beğenmez Beğenmez
12 Cem Karaca & Apaşlar - Gılgamış
13 Grup Bunalım - Bunalım
14 Mustafa Özkent - Zeytinyağlı
15 Barış Manço* - Ben Bilirim
16 Mavi Işıklar - Gül Dah
17 Galatasaray Lisesi - Zazie
18 Erkin Koray - Türkü

Volume 2
1. Alpay ~ Ben armudu dislerim *
2. Metin H. Alatli ~ Mevlana Böyle Dedi [Edit]
3. Timur Selçuk Orkestrasy ~ Panayir Gunu *
4. Serpil Barlas ~ Yandin askinla ben *
5. Erkin Koray ~ Silinmeyen Hatiralar
6. Zerrin Zerren ~ Yazik Sana *
7. Ersen ~ Dostlar beni hartirlasin
8. Ferdi Özbegen ~ köprüden gecti gelin
9. Baris Manço ~ Sari Cizmeli Mehmet Aga
10. Gulden Karabocek ~ Artik Sorma beni *
11. Grup Cigrisim ~ Salak
12. Mavi Isiklar ~ Ask Cicegi
13. Aziz Azmet ve Bunalimlar ~ Hele Hele Gel *
14. Ajda Pekkan ~ Viens dans ma vie *
15. Gomidas Ensemble ~ Helvaji [traditional] *
16. Edip Akbayram ~ Arabam Kaldi Yolda

***Timur Selcuk Orkestrasi -S/T Turkish Anatolian music- great stuff!! ***

Timur Selçuk (born 2 July 1946, Istanbul) is a renowned Turkish singer, pianist, conductor and composer.

here

***Erkin Koray - 3 of his best albums -Turkish Psych legend ***

S/T 1973

Elektronik Turkuler 1974

Erkin Koray II 1976



Erkin Koray has been in the Turkish rock music scene since the early 1960s. By the late 1960s, he was already a major figure in Turkish psychedelic music (also called as Anatolian Rock)

***3 Hur-El - Hurel Arsivi (1974 Brilliant anatolian Turkish folk psych rock)***

A masterpiece of Turkish ethno-psychedelic delight, recorded between 1970 and 1975 by the three very talented Hur El brothers, and released in small quantities on Diskotur (originals sell for $1000 and up nowadays); their second album has the heavy hashish sound - fuzz guitar, impassioned vocals and Eastern percussion - that makes Turkish psych so savory to the rest of the world; very possibly as good as anything recorded by countryman Erkin Koray.

This release by the Korean label “World Psychedelia”, a bootleg label as far as I know, is a straight re-issue of 3 Hur-El’s (don’t ask me how to pronounce it) second album from 1976.

This means that it’s basically a needledrop from clean vinyl, without any sort of modern brickwall mastering or EQ'ing - it sounds nicer than most remasterbated albums coming out these days. (from soundsoftheuniverse).


Track List :
01.Kol Basti
02.Hoptirinom
03.Mutluluk Bizim Olsun
04.Canim Kurban
05.Gonul Sabreyle Sabreyle
06.Kucuk Yaramaz
07.Aglarsa Anam Aglar
08.Omur Biter Yol Bitmez
09.Sevenler Aglarmis
10.Yara
11.Doner Dunya
12.Agit

The Band :
*Feridun Hurel - guitar, sax, vocals
*Onur Hurel - bass,
*Haldun Hurel - drums, percussion

here